Gustav Klimt: Landscapes: Landscapes (Art Flexi Series)

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In the early 1890s Klimt met Austrian fashion designer Emilie Louise Flöge (a sibling of his sister-in-law) who was to be his companion until the end of his life. His painting, The Kiss (1907–08), is thought to be an image of them as lovers which was painted five years after Klimt's 1902 full-length portrait of her. He designed many costumes that she produced and modeled in his works. Space in his landscape works is flattened so efficiently that it is believed that Klimt used a telescope to paint to a single plane. Klimt hardly used the pointillist technique for portrayals or symbolistic pictures, but mainly for landscapes. In this painting, Klimt avoided open spaces and shadows to create the impression of two-dimensional surface patterns. Oberösterreichisches Bauernhaus

Collins, John (2001). "Catalogue: Paintings". In Colin M. Bailey (ed.). Klimt: Modernism in the Making (Exhibition catalogue). Harry N. Abrams. p. 99. ISBN 978-0-8109-3524-2. Smithsonian Libraries and Archives. "Saved from Europe: Otto Kallir and the history of the Galerie St. Etienne: in commemoration of the Gallery's 60th anniversary / by Jane Kallir | Smithsonian Institution". Si.edu . Retrieved 23 May 2023. J. Dobai, Gustav Klimt: Landscapes, London, 1981, pp. 19 and 72 (illustrated, p. 19, fig. 22; illustrated again in color, p. 73, pl. 19). rising, painting, breakfast, swimming in the lake, painting, lunch, nap, swimming, or rowing, and then more painting after tea. He revealingly wrote, "doing nothing gets boring after a bit."

Increasingly, Klimt’s inspiration became the psychological inquiry and preoccupation with sexuality that pervaded the Viennese avant-garde. A favorite topic of the salons was the battles of the sexes—in particular, the domination of woman over man. Klimt’s early interest in the female form mingled with these themes, and he began to take more risks in his depictions of women. In works like Judith and the Head of Holofernes (1901), he presents a strong, sexualized Judith holding the head of her aggressor. The work was created between 1901 and 1902 during Klimt’s summers on Lake Attersee. The painting is an early example of a work executed in the square format Klimt would come to be known for. [4] [5] Insel im Attersee was owned by Paul and Irene Hellmann, [6] a Jewish couple who were persecuted by the Nazis. Irene and her son, Bernhard, were both murdered in the Holocaust, Irene in Auschwitz in 1944 and Bernhard in Sobibor in 1943. [7] [8] [9] [10]

Fünfundzwanzig Handzeichnungen ("Twenty-five Drawings") was released the year after Klimt's death. Many of the drawings in the collection were erotic in nature and just as polarizing as his painted works. Published in Vienna in 1919 by Gilhofer & Ranschburg, the edition of 500 features twenty-five monochrome and two-color collotype reproductions, nearly indistinguishable from the original works. While the set was released a year after Klimt's death, some art historians suspect he was involved with production planning because of the meticulous nature of the printing (Klimt had overseen the production of the plates for Das Werk Gustav Klimts, making sure each one was to his exact specifications, a level of quality carried through similarly in Fünfundzwanzig Handzeichnungen). The first ten editions also each contained an original Klimt drawing. [38] for Klimt's creativity eventually accounting for nearly a quarter of his oeuvre. This shift was in part inspired by a major exhibition of Van Gogh paintings During this period Klimt fathered at least fourteen children. [11] Vienna Secession years [ edit ] A section of the Beethoven Frieze, at Secession Building, Vienna (1902) I get up early in the morning, usually around 6 am, sometimes earlier sometimes later. If I get up and the weather is fine I go into the nearby forest. I am painting a small beech grove, mixed with a few conifers,” so Gustav Klimt described life in the picturesque village of Litzlberg, situated on Lake Attersee in Austria, in the summer of 1903 (Letter to M. Zimmerman, August 1903, quoted in S. Koja, ed., Gustav Klimt: Landscapes, Munich, 2006, p. 27). Filled with the stillness, mystery and timelessness that characterizes the greatest of Klimt’s landscapes, Birch Forest was painted during this idyllic summer retreat. Carlie Porterfield (25 April 2023). "Rare Gustav Klimt lake landscape to make auction debut in New York". Theartnewspaper.com . Retrieved 23 May 2023.

“Farm Garden with Sunflowers” by Gustav Klimt

Vienna Secession, Klimt-Gedächtnisausstellung, XCIX. Ausstellung der Vereinigung Bildender Künstler Wiener Secession, June-July 1928, p. 12, no. 39. The finding is related to previous testimony and a letter that Klimt’s sister wrote to her son, Hermann. The painter selected Lake Garda for his only trip abroad. The work that defines him throughout his time in Italy is associated with the landscape. Klimt’s work boldly broke from artistic convention. He ushered in a new period of figuration that jettisoned rigid tenets of naturalism and classicism. Instead, he favored expressive, virile, human figures who made their desires and emotions known. These inclinations paved the way for the Vienna Secession, of which Klimt was the fearless leader, and went on to influence Viennese Expressionism, a movement spearheaded by his pupil, Schiele. With Klimt as his inspiration, Schiele further unmasked the emotional and psychological inner workings of his sitters.